This book presents the first overview of craft activity, as an integral part of Canadian culture between 1900 and 1950, and reviews the tone and focus of contemporaneous writing about craft. It explores the diversity of all aspects of craft, including makers, production, organization, education, and government involvement.
The red maple leaf is the quintessential symbol of Canada and the flag that popularized it throughout the world was designed in the 1960s as a result of government legislation aimed at creating a vital, new Canadian national identity through objects, events, and building projects. Made in Canada looks at the development of Canadian craft, design, and culture through ambitious government programs meant to reinforce the country's identity as a modern, sophisticated, and autonomous nation. As well, it documents the demise of a singular notion of modern life and its replacement with a focus on personal identity and consumerism. Changes in the 1960s included the building of modern airports, first space satellite, and new national symbols such as the maple leaf flag. Canadians embraced this heightened sense of individuality and demanded products that were equally individual. As a result pop culture objects sat on cool furniture influenced by Scandinavian modernism while handmade crafts reflected a growing concern with environmental issues. Expo 67 was the turning point - one final expression of optimism before Canada was rocked by social change and varied struggles for identity. Made in Canada examines national dreams and expressions of individuality in thoughtful and illuminating essays. Contributors include Sandra Alfoldy (NSCAD University), Paul Bourassa (Musée des beaux-arts de Québec), Brent Cordner (designer and educator, Toronto), Douglas Coupland (artist and author, Vancouver), Bernard Flaman (Government of Saskatchewan), Rachel Gotlieb (freelance curator and writer, Toronto), Michael Large (Sheridan College Institute of Technology and Advanced Learning), and Michael Prokopow (Design Exchange).
Furniture is a unique witness to the transformations of private and public experience amidst the upheavals of the 20th century. How we work, rest and play are determined by the embodied encounter with furniture, defining and projecting a sense of identity and status, responding to and exemplifying contrasting social conditions, political and economic motivations, aesthetic predilections and debates. Assessing physical and archival evidence drawn from a spectrum of iconic and under-represented case studies, an international team of design historians collaborate in this volume to explore key methodological questions about how the production, consumption and mediation of furniture reveal shifting cultural habits and histories across diverse contexts amidst modernity. Drawing upon a wealth of visual and textual sources, this volume presents essays that examine key characteristics of the furniture of the period on the themes of Design and Motifs; Makers, Making, and Materials; Types and Uses; The Domestic Setting; The Public Setting; Exhibition and Display; Furniture and Architecture; Visual Representations; and Verbal Representations.
Canada is a country of massive size, of diverse geographical features and an equally diverse population—all features that are magnificently reflected in its architecture. In this book, Rhodri Windsor Liscombe and Michelangelo Sabatino offer a richly informative history of Canadian architecture that celebrates and explores the country’s many contributions to the spread of architectural modernity in the Americas. A distinct Canadian design attitude coalesced during the twentieth century, one informed by a liberal, hybrid, and pragmatic mindset intent less upon the dogma of architectural language and more on thinking about the formation of inclusive spaces and places. Taking a fresh perspective on design production, they map the unfolding of architectural modernity across the country, from the completion of the transcontinental railway in the late 1880s through to the present. Along the way they discuss architecture within the broader contexts of political, industrial, and sociocultural evolution; the urban-suburban expansion; and new building technologies. Examining the works of architects and firms such as ARCOP, Eric Arthur, Ernest Cormier, Brigitte Shim, and Howard Sutcliffe, this book brings Canadian architecture chronologically and thematically to life.
Chronicles issues affecting the practice of furniture design through the 50 years spanning the commercial birth of the modern movement in Canada, its development and growth, and the demise of government support and public advocacy. Looks at the introduction from Europe, the furniture professions, craft and design, architects and advocacy, committees and competitions, and design issues. Highly illustrated in black and white with a few color plates. Canadian card order number: C96-930643-1. Paper edition (unseen), $39.95. Annotation copyrighted by Book News, Inc., Portland, OR
"The goal of the logo is to alert readers to the threat that massive unauthorized photocopying poses to the future of the written work. [...] The Deco idiom col- onized broadcast facility, from the world's metropolis in London to the North American prairie, and instrument, the radio cabinet, in the houses of the prosperous to the relatively poor. [...] This book would not have been possible without the vision and support of Luc Noppen and the Institut du patrimoine of the Université du Québec à Montréal and the Society for the Study of Architecture in Canada, which founded the Prix Phyllis-Lambert. [...] In addition to Luc and the Institut du patrimoine, I would like to acknowledge the financial support of the Social Science and Humanities Research Council of Canada, the IODE (War Memorial Scholarship Program), the Shastri Indo-Canadian Institute, the Canadian Centre for Architecture (CCA) (with support of TD Financial Bank), and, at UBC, the Faculty of Graduate Studies and the Department of Art H [...] There are numerous others who gave of their time and expertise: Don Luxton, Linda Fraser at the CAA, Joan Seidl at the Museum of Vancouver, the staff at the City of Vancouver Archives and the Vancouver Public Library, the staff at the Special Collections at UBC, Alexis Sornin and the librarians at the CCA, Kathleen Correia and the staff at the California State Library, Jennifer Whitlock at the Uni"--
A vivid, stylish, and fascinating look at internationally acclaimed architects and their work.Beginning in the 1940s, John A. Russell, dean of the School of Architecture at the University of Manitoba, nurtured a strong tradition of Modernist design with close connections to architectural giants such as Mies van der Rohe and Walter Gropius. Under Russell’s guidance, a generation of young architects, such as James Donahue and David Thordarson, adapted the principles of European Modernism to the prairie geography. Other nationally renowned architects, such as Étienne Gaboury and Gustavo da Roza, also left a lasting Modernist mark on Winnipeg’s skyline and private residences.Edited by Serena Keshavjee and designed by architect Herbert Enns, Winnipeg Modern captures the grace and beauty of the Modernist period and includes critical and historical essays on the aesthetic and social project of Modernist architecture in Winnipeg. Lavishly illustrated with 300 photographs from provincial archives, the private archives of architect Henry Kalen, and contemporary photographer Martin Tessler, this book is a testament to the Modernist principles of structural expression and purity of form.
This book is for art market researchers at all levels. A brief overview of the global art market and its major stakeholders precedes an analysis of the various sales venues (auction, commercial gallery, etc.). Library research skills are reviewed, and advanced methods are explored in a chapter devoted to basic market research. Because the monetary value of artwork cannot be established without reference to the aesthetic qualities and art historical significance of our subject works, two substantial chapters detail the processes involved in researching and documenting the fine and decorative arts, respectively, and provide annotated bibliographies. Methods for assigning values for art objects are explored, and sources of price data, both in print and online, are identified and described in detail. In recent years, art historical scholarship increasingly has addressed issues related to the history of art and its markets: a chapter on resources for the historian of the art market offers a wide range of sources. Finally, provenance and art law are discussed, with particular reference to their relevance to dealers, collectors, artists and other art market stakeholders.
